Barbie

Foucault, iktidar odaklarının uyguladığı sistemler için; bireylerin yalnızca bedensel anlamda değil, ruhsal anlamda da yönetildikleri esasını uyguladıklarının altını çizmektedir. Bedenler artık ölümle cezalandırılmamakta, biyolojik yaşam bir hapsoluş üzerine konumlandırılmaktadır. Söz konusu yönetim biçimlerinden biri de karşımıza tekrar ve tekrar yaratılan güzellik algısı, güzellik söylemleri olarak çıkmaktadır.

Çok eski zamanlardan beri süregelen, çağdan çağa, kültürden kültüre göre değişiklik gösterse de etkisi hiç değişmeyen ve önemini hiç kaybetmeyen bir algıdır güzellik. Bu bağlamda da güzelin ve güzelliğin yaratımı sorunsalı karşımıza çıkmaktadır. Özellikle kapitalizmin ortaya çıkış sürecinden itibaren üzerimizdeki ağırlığını baskın bir şekilde hisettiğimiz dönüştürme/ dönüştürülme isteği, idealleştirilen bir güzellik anlayışının mı ürünüdür? Olduğu gibi kabulü görülmeyen güzelin, yeniden yaratım sürecinde oluşan/ oluşmaya çalışan kimliğimiz ne derece özgünleşebilecektir? Bireyin kimliğini oluşturma sürecine giden yolda toplumun rolü ve kendi tecrübeleri ne ölçüde baskın gelmektedir? Bu durum bireyi kimliğini bulmasına mı yoksa yok oluşuna mı götürmektedir?

Araştırma, yukarıda yer alan sorulara binaen, güzellik algısını uluslararası boyutlara taşıyan  ve örnek alınan “Barbie Bebek” üzerinden yapılacaktır. İncelemnin amacı doğrultusunda asıl üzerinde durulacak soru ve tartışma konusu; Amerika’ da üretilmiş ve tüm dünyaya “ideal kadın” olarak sunulmuş Barbie bebeğin, güzelliğin yaratımındaki rolü ve bu yaratımda ona eşlik etmiş söylemler bağlamında yorumlanışı olacaktır.

Barbie, one of the world’s top-selling toy, is discussed and criticized by academicians, feminist groups and popular media commentators in terms of her wide range of symbolism. Barbie’s statement is ‘girls can do anything’,which presents the idea that women are able to overcome any obstacle or make any choice in life.
The Barbie doll was created as a fashion phenomenon in form of a perfect, well kept, good looking image of a woman. At an early age, children meet with this
perfect woman image and want to be like, look like her and act like her. Consequently, children grow up with this ultra feminine women image in their mind, and therefore effects children’s socialization process and gender roles negatively
with its unrealistic body image and perfect life-style. As a response to this ongoing problem, the firm was forced to make some major changes on Barbie’s overall concept. Barbie’s image and role was converted from the always-consuming, perfectly beautiful woman to a successful career woman. However, the new physical features of the Barbie doll still remains the same. The doll does not portray an ideal representation of the role of women in society. Barbie still continues her life far away from the realities of life, in the same beautiful and desirable looking
figure. In this study, a literary review has taken place as well as the historical transformation of the Barbie doll has been examined. In this process, the meaning and value imposed to woman and the changes over woman’s image has been
explained conceptually.

Since 1992, every presidential election cycle has featured a Barbie doll as a candidate in an effort to encourage little girls to learn about the American election process. The campaign itself has many rhetorical tools working in its favor: Barbie’s ability to incite ‘aspirational’ play has always been a fixture of her persona. The interactive website and public events launched by the campaign worked to enhance the sense of active identification that little girls felt toward the doll. However, the ridicule with which Barbie for President was received by the mainstream press may have completely invalidated the effort in the eyes of parents, whose buying power determined the success or failure of the educational effect. The criticism concludes that individual consumers faced with competing frames may interject their own perspectives into their interpretations of the doll, and may form their own opinions about the doll’s campaign.

Most studies of Barbie have commonly focused on her idealized feminine body and the psychological impact of this body on young girl’s self-image.  Focus on such a small part of Barbie’s artifact assemblage limits our ability to see, or rather to understand, Barbie’s full influence on American girls.  It also ignores the archaeological ideal of never analyzing a single object in isolation from related objects in the same assemblage or without reference to its contexts.  Scholars must consider other facets of Barbie’s world and, in studying the various parts, form an aggregate interpretation that relates Barbie and her world to America’s rapidly changing, consumer-based society. Thus, studies must be performed on her various parts – beyond the prevalent literature on Barbie’s nearly impossible ideal of beauty – in order to understand Barbie’s full influence on American girls. 

This study is a step in that direction; herein, Barbie’s careers from her debut in 1959 to 1989 are reviewed as part of Barbie’s artifact assemblage.  The evidence of her careers – titles and clothing – is compared to U.S. Census data in order to grasp whether Barbie embodied the reality or ideal of working women in the late twentieth century. U.S. Census data for the beginning and end of each decade was averaged to provide the median percentage of women reporting employment corresponding to Barbie’s chosen careers of that decade.  An example: for Barbie’s careers in 1960, each career was matched to the equivalent occupational category in the 1960 Census.  The percentage of women in that category from the 1960 and 1970 Censuses was averaged.  This average is assumed to reflect the median number of women that, over the decade, worked in that occupational category.  These medians were analyzed to determine whether Barbie sought traditionally male or female career choices.  If Barbie chose predominantly male careers, Barbie embodies an ideal rather than reality, and vice versa.  Since Barbie is intended for young girls, and as psychological studies have demonstrated her impact on girls’ self-image, her career choices likely also influenced the choices young women made in their professional lives.  By examining Barbie’s career choices, we begin discourse on whether and how Barbie was influential in the perception of women’s ability to transcend gender roles and achieve economic independence.

Amid Modi's continued push for yoga, it's surprising that India has not yet emerged as a producer of yoga dolls.

Originally published in the Wire https://thewire.in/society/as-modi-dreams-of-becoming-worlds-yoga-guru-where-are-indias-yoga-dolls
It is a short extract from a larger peer-reviewed book chapter.

McCartney, Patrick, and Diego Lourenço. forthcoming. "‘Non-human gurus’: Yoga dolls, online avatars, and meaningful narratives." In Gurus and Media, edited by Jacob Copeman, Arkotong Longkumer and Koonal Duggal. London: UCL Press.

The blog for the project is: https://blogs.ed.ac.uk/gurusandmedia/about-the-exhibition/

This dissertation focuses on the characterization and role of toys in English language children’s literature, with an emphasis on differences and similarities in the cultural contexts where toys play a primary role.
Although regarded as material objects, toys are depositaries of values and deep connotations attributed to them by human society. Through the critical perspectives offered by material culture studies, thing theory, psychology, and cultural memory, the present work highlights the role of toys in the dynamics of identity building, leading to specific responses to the social context, and choices in gender roles.

In the present research we examine the association between perceived maturity of a group and willingness to form a romantic relationship with a member of that group. In Study 1, we tested the validity of a 2-item measure of self-reported maturity by assessing its relationship with existing measures of maturity and other related measures. The new measure showed evidence of being valid. In Study 2, we modified the scale to examine participants' perceptions of the maturity of fans of various interests (e.g., sport, music, media) and their degree of willingness to form romantic relationships with a member of each fan group. Results revealed a positive correlation between perceived maturity and willingness to date. Together, the results validate the short measure of maturity and demonstrate its utility in finding associations between perceived maturity, content of leisure interests, and prospects of romantic relationship formation.

In my presentation I discuss the relationship between children’s literature and difficult topics, especially when mediated by toys, which are children’s most iconic possession.
It begins with a theoretical introduction to the theme, by discussing “new realism”, which is a relatively “new” approach that allows young readers to become familiar with difficult - but realist and ordinary – problems. Later on, the focus moves to a specific literary example: Barbie Unbound by Sarah Strohmeyer; and it deals with two episodes in which the toy – Barbie doll – is facing difficult situations related to ordinary childhood and adolescence.

In the presentation, I propose some essential reflections on the research I have done during my three years as a PhD student, that has been adapted in a thesis entitled “Toy stories: comfort toys e modelli di comportamento nella children’s literature dal 1800 alla contemporaneità.”
The thesis consists of four chapters, but it can also be divided into two main parts.
The first part corresponds to the first chapter, where a brief introduction to the theme of toys is carried out through several methodological approaches. The second part corresponds to the following three chapters, which offers a literary analysis of a corpus consisting of eleven texts, where the theories investigated in the first chapter are immediately applied in order to identify the description and the role of the toys through three categories: the physical descriptions of the toys; their soul or their lack of it, and the way in which this feature conditions the relationship of toys with children inside and outside the text; and the symbolic value toys endorse when related to human society and culture.

The current smart toy research has not fully acknowledged the existing research on traditional toys. Instead, the focus has been on the digital layer of smart toys. This study contributes to bridging the gap between traditional and smart toy research by applying the analytical model known as the functional manipulation potential of toys (FMP) to identify if and how smart features such as connectivity affect otherwise traditional toys. Based on purposeful sampling of informant-rich cases, this study uses FMP to analytically compare the digitally enhanced Hello Barbie doll to a traditional Barbie. The data, analyzed using abductive methods, comprises the tangible dolls and the 8,000 lines of dialogue that Hello Barbie can speak. The results show that connectivity can notably change the FMP of an otherwise traditional toy. These changes took place in two forms: additions and amplifications. Additions mean that Hello Barbie contains functional elements a traditional Barbie does not. Amplifications refer to situations where already existing elements were augmented by the connectivity. Implications for future research are discussed.

Voilà quatre-vingt années que la Seconde Guerre mondiale fut déclenchée et l'époque sombre de l'Occupation continue de hanter nos mémoires. Les familles doivent vivre avec les échos noirs ou glorieux du passé, avec l'ombre bienfaisante ou écrasante de leurs aïeux. Pleinement concernée par le sujet en tant que petite-fille d'un Résistant mort en déportation, Médaillé de la Résistance Française, Pascale Mottura convoque deux livres sur ce thème : La part du fils, de Jean-Luc Coatalem (Stock) et La fabrique des salauds, de Chris Kraus (Belfond) afin d'exprimer cette idée : grâce à l'accessibilité croissante des archives, la troisième génération peut s'armer pour résister à tous ceux qui tenteraient de biaiser, voire d'occulter l'Histoire.
"La part du fils", récit renfermant une mystification portant atteinte à la juste mémoire de la Résistance, a pourtant été hissé jusqu’à la liste des finalistes des prix Goncourt et Renaudot 2019. 
Il a figuré aussi sur les listes du Goncourt et du Renaudot des lycéens, ainsi que sur la première liste du grand prix du roman de l’Académie Française en 2019.
Choquée par la médiatisation de ce livre, constatant que, sans les clés idoines, les lecteurs tombaient aveuglément dans le panneau conçu par l’auteur, Pascale Mottura a écrit deux autres articles à ce sujet :
- « La part du fils pour les nuls », publié le 27 octobre 2019 par Agoravox, écrit rapidement suite à l’émission de La Grande Librairie du 23 octobre, en guise cette fois d’explication de texte :
https://www.agoravox.fr/actualites/medias/article/la-part-du-fils-pour-les-nuls-218855
- une « Lettre ouverte au Président de la République » publiée le 2 novembre 2019 par Agoravox : 
https://www.agoravox.fr/actualites/societe/article/affaire-coatalem-la-part-du-fils-218999

Site présentant le parcours d'Alfred Sabatier, Médaillé de la Résistance Française, sur la base des archives publiques et privées le concernant :
https://www.alfredsabatier-resistant.info

Avec le développement de la culture médiatique, la littérature pour la jeunesse est de plus en plus liée à d'autres modèles de consommation de la fiction. Outre les emprunts à la culture cinématographique ou télévisuelle, elle a ainsi tenté de reprendre des univers de fiction constitués dans des sphères culturelles qui laissent une place plus problématique à la narration, celles des jeux et des jouets, adaptés sous forme de romans, à l'instar de la série de Barbie, publiée par l'éditeur Hemma. Ces novellisations posent des problèmes spécifiques pour qui s'intéresse à la constitution de leur univers de fiction. En effet, là où les autres adaptations (celles de séries télévisées, films cinématographiques ou bandes dessinées) se contentent d'adapter suivant d'autres codes une intrigue déterminée, les novellisations de jeux et de jouets s'attaquent à des objets dont la dimension narrative reste latente, puisqu'elle est constituée en grande partie par l'activité de l'enfant ou de l'adolescent jouant. A partir de la notion de " panoplie narrative ", nous tenterons de montrer que les relations qui s'établissent dans ces œuvres entre les pratiques du jeu et celles du récit peuvent ainsi servir de point de départ à une réflexion sur les liens entretenus entre ces différentes modalités de la fiction.

İnternetin insan hayatına girmesiyle birlikte sosyal medya kullanımının artmasının gençleri etki altına aldığı gözlemleniyor. Çağımızın yeni hastalığı olan ''Barbie Sendromu'' ise yayılıyor. Bilgi ve iletişim teknolojilerinin yaygınlaşmasıyla kişilerin benliklerine ve yaşamlarına olan etki sosyal medyayla her geçen gün artmakta ve yönlenmektedir. Kişilerde, özellikle de belli yaş grubundaki gençlerde(18-24) ''kendini değiştirme'', ''yeniden oluşturma'' merakı her geçen zamanda daha ileri boyutlara ulaşmakta bazense hastalıklı bir durum haline gelmektedir. Yapılan araştırmalar, internetin yaygınlaşmasıyla sosyal medyayı kullananların sayısının günbegün arttığını ve kişiler üzerinde takip ettikleri sayfalardan etkilendiklerini ortaya koydu. Hal böyle olunca da, sosyal vakalar, sosyal medya üzerinden kendilerini göstermeye başladı. Oyuncak seçimi ileriki hayatı etkiliyor Özellikle erken çocukluk döneminde çocukların ellerinden düşürmedikleri çizgi kahramanları ve kız çocuklarının bütün gün oynadıkları barbie bebekler risk grubunda yer alıyor. Pixee Fox isimli kadın, en sevdiği çizgi film kahramanına benzemek için tam 17 estetik ameliyat geçirdi, 25 yaşındaki genç kadın, bu estetik ameliyatlar ile 6 kaburgasını aldırdı, göğüslerini büyüttü ve hayal ettiği Brezilya kalçasına kavuştu. Masmavi gözleri ve sarı saçları, incecik beliyle gerçek bir barbie bebeğe benzeyen Ukraynalı model Valeria Lukyanova ise geçirdiği sayısız operasyon ve saatler süren makyajıyla genç kızları etkilemeye devam ediyor. Sosyal medyada paylaşılan fotoğraflar ve takipçilerinden aldıkları güzel yorumlarla gençler, bu durumdan etkilenerek estetik operasyonlara başvuruyor. Sadece kadınlar ilgi duymuyor 34 yaşındaki Amerika'lı Kendoll Justin Jedlica ise Ken Bebeğe benzemek için yüzü dışında vücudunun hemen hemen her yerinde implant koydurtmuş. Sayısız ameliyat geçiren Jedlica, kör olma tehlikesi ile karşı karşıya kalmış olmasına rağmen Instyle dergisine verdiği röportajda, estetik ameliyatlara devam edeceğini açıklayarak "Bu konuda daha yapılacak çok şey var" dedi.

Barbie has long been ascribed potent powers in terms of shaping attitudes towards gender roles. In both scholarly and popular media discourse, she has been linked to—or blamed outright for—a range of social ills including eating disorders, plastic surgery addictions, and the sexualisation of children. This article examines a Barbie merchandise sector that has been largely neglected in scholarship: the 26 animated Barbie feature movies Mattel has released since 2001. These films confound some dominant assumptions about Barbie’s transmission of oppressive ideology, in that many are gynocentric and subvert “traditional” gender stereotypes. It is curious, therefore, that this new Barbie genre has not received more attention in the literature. A possible explanation is that researchers may overlook, ignore, or misread new manifestations of serial commodities because of the
assumption that these new products—and the meanings associated with them—will only ever be “more of the same”. The fact that these Barbie films do have a number of novel aspects underlines the importance of approaching research into new communication modes with fresh eyes; of reassessing—and, if necessary, revising—the received wisdoms that may be associated not only with the object of analysis, but with the theoretical paradigms guiding the analysis itself.

Barbie e la rappresentazione di genere Chi è nato dagli anni Novanta si sarà sicuramente imbattuto nei primi film dedicati a Barbie, esorditi nel 2001 con Barbie e lo Schiaccianoci e arrivati a quota 36. Non sono certo dei capolavori, ma nella loro semplicità si sono saputi distinguere. I cartoni di Barbie sono prodotti pensati principalmente per bambine e ragazze, come del resto tanti altri, ma difficilmente nei primi anni 2000 si vedevano una varietà di personaggi femminili interpretare tutti i ruoli, dalla protagonista all'antagonista. Il personaggio interpretato da Barbie non resta mai passivo davanti all'azione, ma diventa parte dell'avventura, cavandosela da sola: le donne mandano avanti l'azione per tutto il tempo, inseguendo un sogno, la curiosità, le proprie passioni. Era importante che specialmente le bambine si identificassero nei personaggi: questo ha reso possibile la tecnica del gender swap molto prima, e molto meglio, rispetto a come viene spesso attuata oggi. Le favole classiche vengono reinterpretate con protagoniste nuove: in La principessa e la povera, Erika e Annalisa, stanche della loro condizione, si scambiano di ruolo e salvano il regno in crisi; mentre in Le tre moschettiere, Corrine, Viveca, Aramina e Renée diventano letteralmente delle moschettiere. Chiaramente è una situazione inverosimile, ma il contesto permette di mettere da parte la realtà e di focalizzarci sul percorso che porta al raggiungimento del sogno. L'elemento del sogno ritorna anche con le varie campagne pubblicitarie Mattel che utilizzano Barbie per sottolineare la possibilità di realizzare i propri sogni, mostrando una sfilza di mestieri che, stereotipicamente, spesso non vengono associati all'ambiente femminile. Ed è grazie a questo ribaltamento di valori che Barbie astronaute, presidenti, dottoresse, e tanto altro, popolano gli scaffali dei negozi per la collezione Barbie Career Dolls. A livello cinematografico, soprattutto nei film più recenti, che non sono ispirati a favole o a romanzi, i personaggi compiono le più svariate mansioni: in Barbie nel mondo dei videogame la protagonista è una programmatrice di videogiochi, mentre in Barbie Avventura Stellare interpreta un'astronauta, oppure ancora in Barbie Super Principessa e in Barbie Squadra Speciale è rispettivamente una super eroina o una spia. E le carriere proliferano, dalla stilista alla rockstar, anche per altri personaggi come la madre, presente sin dal primo episodio di Barbie Dreamhouse adventures e descritta come una programmatrice digitale. Questa varietà di personaggi e carriere non sono scontate, perché rendono più accessibile e più interessante la gamma di lavori che di solito sono rappresentati nei film d'animazione al femminile. Barbie, però, è un personaggio che chiaramente risulta impossibile da raggiungere: troppo perfetto anche per un cartone animato-non si può dimenticare che è la bambola che rappresenta la finzione per antonomasia. Ma si è tentato di aggiornare anche questo aspetto: in ogni film Barbie non fa niente da sola, ma è sempre aiutata da amici e da amiche con cui collabora per superare insieme ogni situazione critica. Se però questo è scontato, in un film che deve avere una morale per i bambini, da qualche anno a questa parte si introduce anche il tema della famiglia: due serie tv e diversi film si rifanno alla collaborazione di tutte le sorelle di Barbie, diverse tra loro e con talenti personali e specifici. In Barbie e il Natale perfetto viene messa in discussione la perfezione di Barbie, quando una delle sue sorelle manifesta il suo sentirsi sempre eclissata da lei, ma alla fine tutto si ribalta e diventa possibile solo grazie alla collaborazione tra loro. La perfezione di Barbie e il rapporto con le sorelle torna e acquista toni di parodia nella prima serie tv di Barbie Life in the Dreamhouse, serie che alza un po' l'età del target, nella quale vengono ridicolizzate tutte le situazioni che caratterizzano il mondo della bambola Mattel.

De eso se trataba escoger, de decidir cual lado podría llegar a convenirme, pero en ocasiones no hay lados, ni contornos; simplemente mareas neutrales, donde los colores no son mas que la fugacidad de un intermedio imposible.
La sociedad ha producido luchas de simbolos, que rayan con la imposibilidad, que golpean la contradicción; nos expone al termino "felicidad" que esta acuñado a una supuesta elección de vida y que de alguna manera el cuerpo es la respuesta de ello...
"una barbie, unos segundos"

Since her creation in 1959, Barbie has become an icon of femininity to girls all over the world. In this study, author Emily R. Aguiló-Pérez focuses on a group of multigenerational Puerto Rican women and girls, exploring how playing with Barbie dolls as children has impacted their lives. By documenting the often-complicated relationships girls have with Barbie dolls, Aguiló-Pérez highlights the ways through which women and girls construct their own identities in relation to femininity, body image, race, and nationalism through Barbie play.

Purchase at: https://www.berghahnbooks.com/title/Aguilo-PerezAmerican

Realism in young adult literature is intended to educate and entertain adolescents at the same time. There are two major kinds of realism in literature for a teenage readership: old realism and new realism. The former predominantly involves “the author’s creation of possible people in a world of possible places” (Oliver 335), whereas the latter focuses on providing an opportunity to educate young adults about topics formerly considered taboo (Mercier 201). Drawing on this division, this chapter examines the ways in which difficult topics covered by new realism are addressed in the collection Barbie Unbound: A Parody of the Barbie Obsession (1997), written by Sarah Strohmeyer and illustrated by Geoff Hansen. Interestingly, this happens through a satirical representation of the Barbie doll, a toy easily identifiable by child, adolescent, and adult audiences. In this chapter, I analyze some of these representations, whereby I particularly dwell on how Barbie is turned into a productive means to represent contemporary society and culture whenever the standard characteristics of the doll are set against a realistic background. Hence, the Barbie doll becomes an intermediary in communication between adult authors and young and adult reading audiences, showcasing the crossover attitude of the collection.

Although popular culture and its incidental pleasures are constantly consumed, such things are not usually assessed with the same meticulous and critical lenses trained upon other forms of culture. Indeed, despite the victories of cultural studies, there is still less ink spilt (or keys tapped) on close academic analyses of pop culture than objects classed as “art.” Carol Magee’s Africa in the American Imagination is a welcome—and exemplary—exception to the rule (though certainly scholars such as Sidney Kasfir have addressed similar pop-cultural topics [Sidney Littlefield Kasfir, African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press, 2007]). Magee’s book undertakes detailed and nuanced readings of representations of “Africa” in American popular culture of the past twenty years, considering their connotative and denotative meanings. Magee notes that satisfactions associated with a casual consumption of “Africa” can become “both a point of entry and stopping point,” that is, smoothly consumed without the interruption that critique might bring (11). Her subject of inquiry matters; for, as she further affirms, “popular culture teaches and contests ideas, passing them on and/or overturning them” (11). While some of the examples she discusses have provoked a certain amount of outcry or garnered media attention, they have largely not been subjected to the kind of rigorous scholarly analysis Magee provides.

Para imponerse con éxito "en la vida", el arte debe convertirse en algo diferente –inusual, sorprendente, exclusivo– y la historia demuestra que el arte únicamente puede hacer esto recurriendo a las tradiciones clásicas, mitológicas y religiosas y rompiendo su conexión con la banalidad de la experiencia cotidiana. (Boris Groys, “Sobre lo Nuevo”, 2002)

Dans "The Barbie Murders" ("Barbie tueries" en traduction française), John Varley place son personnage principal dans une situation paradoxale. Une inspectrice de police doit enquêter sur un meurtre pour lequel elle dispose d’enregistrements détaillés et de dizaines de témoins. Identifier le criminel paraîtrait donc enfantin si l’assassinat ne s’était produit dans un groupe particulier, celui des Barbies. Les membres de cette micro-société ont la double coutume d'adopter une conformation corporelle standard pour tous (la forme Barbie standard) et un rassemblement vespéral quotidien d’échange des expériences de la journées, l’"égalisation". Comme le meurtre est le fait d’une Barbie sur une autre Barbie dans une foule de Barbies, l'identification se heurte à l’identité collective Barbie qui a effacé les identités individuelles. Dans cette nouvelle où il est par excellence question du paraître, les apparences sont aussi des disparitions de la distinction du soi et de son corps. Bien qu’appartenant au genre science-fiction et secondairement au genre policier, le lecteur vit un effet de fantastique, d’abord par l’étrange disparition inapparente des paraître singuliers, ensuite par l’émergence chez ses Barbies à la sexualité interdite (autre disparition) d’une nouvelle forme déviante de sexualité (apparition) jouant précisément sur l’apparence. L’infraction au réel est à la fois subtile, puissante et décalée, portant sur le physique comme sur la culture, avec une sorte d’effet fantastique au ralenti, inassimilable. L’identité, l’altération de l’autre, l’effet de ressemblance-dissemblance avec soi interrogent la cultures des formes corporelles qui se manifestent avec la poupée Barbie : archétypes, phénomènes de participation et d'imitation, jeux des rôles sociaux. La standardisation (individuelle), l’identification (policière) et le lien (sexuel) forment des ressorts dramatiques en prise directe avec l’interrogation du phénomène Barbie.

"Potete finirla adesso di parlare del mio fisico?" E' il titolo che trionfa nella copertina del "Time" e che-­‐ con accanto una foto della bionda più famosa del mondo, un po' ingrassata e con indosso un tubino nero-­‐ annuncia così il cambio della silhouette di Barbie. Dal 1959 Barbie ha avuto forme irreali (95-­‐45-­‐82), insieme a quella che è stata per lei una combinazione vincente (occhi azzurri, pelle chiara e capelli biondi): così è stato prima del 16 Gennaio 2016 e della nuova collezione Barbie: fashionista.

Resumen: En su instalación titulada Mapping, el artista puertorriqueño Víctor Vázquez pondera las ideas de nación, territorio e identidad mediante el uso provocador de muñecas Barbies instaladas directamente en el suelo y vestidas con las banderas de diversas naciones.

Abstract: In an installation named Mapping, Puerto Rican artist Víctor Vázquez examines the ideas of nation, territory and identity through a provocative use of Barbie dolls that were installed directly on the ground and dressed with the flags of various nations.

Este artigo analisa o esquete Barbies (2018), do Porta dos Fundos. O vídeo dialoga com os memes da Barbie Fascista. Fundamentado nas concepções bakhtinianas de dialogia, enunciado, ideologia e vozes sociais, este artigo analisa a sua constituição verbivocovisual. O método é o dialético-dialógico, em cotejo com memes e comerciais da Barbie. O objetivo é refletir sobre a crítica, feita por meio do humor ácido, a mulheres brancas, abastadas e conservadoras, identificadas como eleitoras de Bolsonaro. A justificativa está centrada na relevância social do humor como resistência. Os resultados mostram o poder corrosivo da paródia.

In this essay, I  examined how the population of India welcomed the Barbie doll on their markets in comparison to the United States. With the case study of the Barbie doll in two culturally-diverse places, I wanted to draw attention to the discrepancies in existing values and norms between the countries. In the first part of the paper, I put the emphasis on highlighting the relationship between the Western world and the Barbie doll in terms of success, values, wealth and popularity, while in the second part I wished to scrutinize and provide an answer why the situation differed appreciably in the Republic of India. Globalization may be regarded as a force of both diversity and unity, which can be linked together by a single product or commodity with different characteristics, but the same essence all over the planet. In my case, it is the Barbie doll.

Este artigo analisa o esquete Barbies (2018), do Porta dos Fundos. O vídeo dialoga com os memes da Barbie Fascista. Fundamentado nas concepções bakhtinianas de dialogia, enunciado, ideologia e vozes sociais, este artigo analisa a sua constituição verbivocovisual. O método é o dialético-dialógico, em cotejo com memes e comerciais da Barbie. O objetivo é refletir sobre a crítica, feita por meio do humor ácido, a mulheres brancas, abastadas e conservadoras, identificadas como eleitoras de Bolsonaro. A justificativa está centrada na relevância social do humor como resistência. Os resultados mostram o poder corrosivo da paródia.